Editing a Combination with KARMA M50 and Merging the data with the M50

Transcription

1 Editing a Combination with KARMA M50 and Merging the data with the M50 Revision 04-Sep-2011 by Stephen Kay This tutorial will explain the basic concepts of KARMA editing within KM50, the concept of editing in two places at once (both KARMA M50 and the M50), and how to combine your edits into a finished Combination or Program inside the M50. By following all of the steps, you ll learn a lot about working with many of the various windows and features of the KM50 user interface. KARMA M50 (KM50) is not an editor for all of the parameters of the M50. It is the KARMA engine of the M3 and OASYS, and all related parameters. It does not include any of the sound, track, timbre, and effect-related parameters that exist in the M50 itself with the exception of two Drum Track parameters, and the Program or Combi Category and name. Typically, when you edit a Combi or Program in KM50 (a Multi-Module Performance or Single-Module Performance, in KM50 terminology), you edit the KARMA-related parts in KM50, simultaneously making edits to the sound, timbre, and track-related parameters in the M50 itself. These two sets of edits go together to produce the final new version of the Combi or Program. Once you have done this type of editing, you save the Performance in the KM50 software, and you save the Combi/Program in the M50. Selecting the Performance in KM50 calls up the corresponding edited Combi/Program in the M50, and if you plan to use it like this with the KM50 software, then that s really all you need to do. But if you want to get the edits to the name, category, and two Drum Track parameters back into the M50 (rather than manually programming those on the M50), you must learn the technique of merging the edits as explained in the later parts of this tutorial. This example will use a Combi (a Multi-Module Performance), as we first edit the KARMA related settings in the software and the timbre-related settings in the M50. The same operations apply for editing Programs (single-module Performances) they re just simpler. The images shown here are from the Mac OS X version, but should be virtually identical on Windows. A. Editing KARMA Parameters in the Performance 1. With KM50 launched and communicating with the M50, select Performance (Combi) C127 Mesons & Quasars. You can do this by opening the Bank Display window for KDF row 2 Combi Bank I-C (highlight and double-click or press Enter in the KDF Window), or by using the Bank and PE menus at the top of the Performance Editor (Window Menu > Performance Editor (cmnd+p [mac], ctrl+p [win])). Use Chord Trigger 1 to give it a listen so you know what it sounds like before we edit it. Page 1

2 2. Let s change the GE for Module 1. Set the Status/Editing display at the top of the Performance Editor to Module 1 if it is not already (you can also use the Window Menu > Current Edit Module): 3. In the KDF Window, use the scroll bar to bring the GE Banks into view (or lengthen the window), and locate 15 GE Bank (1920 ~2047), the 16 th bank of M3 GEs. Double-click it, or select and press Enter, and a GE Bank Display Window opens, showing the 128 GEs in that bank. Select GE 123 WaveSeq 1 (Bnd/Rpt). 4. Bring the Real-Time Controls Window to the front (you can use the Window Menu, or cmnd+l [mac], ctrl+l [win]). By default, it should be displaying the Master Layer, as shown below. If you wish, trigger KARMA with Function Key [F1] on your computer (or by clicking the button with your mouse in the RT Controls Window) and listen to the changes as we perform the following steps. 5. Set Slider 7 WaveSeq Randomize to 64 (the KARMA Value will be 0 in the pop-up Parameter Display) as shown above. Page 2

3 6. Now, select Module 1 from the Control Layer menu (you could also do this by clicking the tiny numbers to the left side of the Scene Matrix Grid, or pressing [F12] on your computer keyboard). This shows us the RT Control Layer for Module Turn on Switch 8 WaveSeq Offset, set Slider 5 Cluster Pattern to 46 (KARMA Value = 23), and play [F1] (Chord Trigger 1) you should hear a syncopated cyclic Wave-Seq pattern completely different from the original. 8. Let s edit it further: set Switch 3 Note Scale Type to On, and Switch 5 Bend On/Off to On, so that all the edits shown above have been completed. Now there s a cool note pattern going as well. Note that you can solo a Module using the tiny yellow Solo buttons at the top of the Performance Editor, or the Solo Buttons in the GE Setup Page, as shown to the right. Try soloing Module 1 to hear your work so far. Page 3

4 If you haven t opened it yet, try the Data Display Window from the Window Menu (cmnd+d [mac], ctrl+d [win]). Here you can clearly view the panning, bending, notes, and SysEx messages being generated with Module 1 soloed. You will find the Data Display Window to be quite useful when trying to verify exactly what is being generated by various modules. If you play [F1], you will notice that, although the stored chord is a minor chord, the note pattern is playing a major riff. Why? 9. Go to the Performance Editor > Key Zones page, press [F1], and you ll see that the notes for the chord, which are displayed in the keyboard above the zones, only have a single octave in the range for Module 1 s input. Some types of GEs base their musical output on chord recognition of the input notes (and this happens to be one of them). KARMA s chord recognition interprets a single pitch as being a major chord. So, in this case, where only two notes (both the same pitch) are going into the module as input, a major riff is generated, even though the notes outside of the input zone are creating a minor chord. 10. Edit the zone for Module 1 to include the whole range of the keyboard: you can click in the number box under Top, press and drag the mouse up, or type in g9, or click and drag on the range bar display itself. Now play [F1] again, and the other chord pads, and the notes of the pattern will follow the chords instead of playing major riffs. Page 4

5 11. Now, we ll edit the other three Modules in a similar fashion. Module 2 is playing the drums; change the GE to 47 Mashed Garage [Dance Kits], within the same bank. Another way of selecting a new GE is from the Performance Editor > GE Setup Page, using the GE popup menu in the Module 2 column. You could also use the Bank and GE popup menus at the top of the GE Editor, assuming that Module 2 is the Current Edit Module. The Current Edit Module can be selected using the tiny "Mod" buttons at the top of the GE or Performance Editors, or by using the Window Menu > Current Edit Module item.) Finally, there s an additional way to select GEs: We already opened a GE Bank Display in the first part of this tutorial from the KDF file; it s worth mentioning that from the GE Editor, you can click the Open GE Bank Display button next to the GE Menu, and it opens the GE Bank Display Window containing that GE. You can select a GE in any GE Bank in the KDF File with this method as well, loading it into the Current Edit Module. Note: the button above it next to the Bank Menu brings the current KDF containing that bank to the front. This also works in a similar fashion in the Performance Editor. Page 5

6 12. In the Real-Time Controls Window, select the Control Layer for Module 2, and set Switch 5 Bend On/Off to On, and Switch 6 Bend Normal/Arpeggiated to On, giving us a pitch-bended steppy effect on the drum groove. Use the Solo buttons to check it out. 13. For Module 3 (the bass), we won t change the GE, we ll just edit the Real-Time Controls. Change to Module 3 s Control Layer using any of the methods we ve preciously discussed, and make the following settings (you may wish to Solo Module 3 while doing this.) Slider 7 Repeat Repetitions to 50 (KARMA Value = 3) Slider 8 Repeat Transpose to 96 (KARMA Value = 12) Switch 8 Repeat Volume/Decay to On (KARMA Value = 0/-6) Switch 5 Bend On/Off to On (KARMA Value = 1) As shown below, these settings give us some additional notes and octaves, with a bit of bending as well. 14. Finally, let s do something to Module 4, which at the moment isn t even being played (as it s turned off.) Return to the Master Layer using the Control Layer menu, clicking on the small numbers, or pressing [F12] until it comes around again, and turn on Switch 4 Module Run [4] (as shown in the diagram below). Now we can hear a string riff. Page 6

7 Let s choose a different scene for Module 4 as a starting point. There are several different ways to choose a scene: the 8 large buttons directly under the Scene Matrix Grid choose one of the first 8 scenes for whichever Control Layer is currently selected. KM50 has 32 scenes per Module and Master Layer, as shown by the Scene Matrix Grid above those 8 buttons. You can choose any scene in any layer using the grid, which is similar to the Scene Matrix tab in the M Switch to the Control Layer for Module 4, and click on Scene Button 4 under the grid (you could also click in row 4 of the Scene Matrix Grid, column 4, or you could use the Scene popup menu). Now we have a busier pattern, and the Sliders and Switches update to the new values for the scene. 16. As shown in the previous diagram, set Slider 5 Note Range to 108 (KARMA Value = 339) to increase the octave range of the notes being generated on the strings. Set Slider 3 Duration Control to 60 (KARMA Value = 61/60) and Slider 8 Repeat Transpose to 96 (KARMA Value = 12) as well, to make a more obvious part. 17. Let s try out the Compare feature in KM50. From the Edit Menu, select Compare (cmnd+k [mac], ctrl+k [win]). Press [F1] and you can hear the original Combi. Execute Compare again to return to our edited version. This works basically the same as the M50 Compare feature, so be careful not to edit anything while in the compared state or you will lose your edits. Now, let s save our work so far. You could overwrite into the same location, and then use Save As... from the File Menu to create a new KDF file so that we haven t overwritten the Preload KDF. For the purposes of this tutorial, we ll save the Combi into a new User Combi Bank in our Preload KDF, and illustrate several concepts about how Performances match up with Combis and Programs in the M50. But we ll also save it as new file, since it s not a bad idea to keep a copy of the Preload file in its unedited state. Page 7

8 18. First, we need to add a bank to the KDF File. In the KDF window, select Combi Bank I-C as shown below, click on the menu button (the KM50 Logo), and select Add Bank... In the resulting dialog, select Performances (Combi), and click on the green checkmark (OK). A single new Combi Bank is inserted after the highlighted bank, giving us Combi Bank I-D. A diamond symbol (Mac) or asterisk (Windows) appears to the left of the KDF name in the title bar indicating it is edited. (KM50 will automatically add a bank of whatever type is not occupied already, so since we have Combi Banks I-A, I-B, and I-C, the next available type is Bank I-D. But the order of Performance Banks in the KDF Window is not fixed, they can be in any order, so if you didn t select Bank I-C first, the new bank would end up at the end of the list.) 19. Double-click the new Bank I-D in the KDF File (or simply press Enter if it s already selected) to open the Bank Display Window. Here we have the Bank Type popup menu in the upper right corner, which is how you associate a bank with a particular bank in the M50. You can actually have more than one bank of the same type in a KDF file, although it s not the best practice. Changing the Bank Type will change which bank in the M50 it is associated with although we do not need to change this setting now. 20. Back to the Performance Editor: click on the [Store] button next to the Bank and PE menus. A dialog comes up allowing you to choose a destination. From the Bank menu, select our new Combi Bank I-D (4th bank in the list), and from the Location menu, select 000 (InitCombi ID000). Add the number 2 to the end of the name, and change the label to blue instead of none (just for the heck of it). (Labels are a feature that allows you to visually identify different Performances and GEs within the various Bank Displays. For example, you could flag all edited Combis with yellow, or all work in progress with red.) Page 8

9 Click OK (the green checkmark), and a warning is presented that you are about to overwrite a Performance. (This warning can be disabled in the Preferences > General tab, if you find it gets annoying after awhile.) Answer OK, and the Combi is written to I-D000, and you can see it appear in the Bank I-D Bank Display Window. 21. Note that all you ve done so far is write it into a location in the KDF File. But the KDF File itself needs to be saved (you ll notice it has a diamond or an asterisk next to the name in the title bar, indicating it is currently edited.) From the File Menu, choose Save As..., give the file a name such as My Performances.kdf, and press OK. The name of the KDF changes, and your data has been saved as a new KDF File. Now that you have a new KDF File, any further edits can be saved into it using the File Menu > Save command (cmnd+s [mac], ctrl+s [win]). 22. An important point needs to be made here: Select Combi I-D001 (Init) in our new Bank that we created, and check the M50. It switches to Combi D001, as one might expect. Now reselect our new Combi I-D000 Mesons & Quasars2. What happens? It selects the original Combi C-127 in the M50. Why? 23. Switch to the Korg Page of the Performance Editor. Here, there are settings that specify a Bank and Program Change that are sent when the Performance is selected. Since we edited and stored a Performance that was referencing C127, the menus are still set to send that program change. Change the Bank Menu to Bank User D and the Prog/Combi menu to 000: Combi I-D000, and store the change by again pressing the [Store] button at the top of the Performance Editor and overwriting the change into the same location. Note that you do not get a warning dialog when overwriting into the same location; it assumes you are updating the same Performance on purpose. Also, note that this entire step does not need to be performed unless you have changed the location of the Performance, as we did here. If you had stored the edits in the same place, there would be no need to change the Bank and Prog/Combi menus here. Page 9

10 (Performances in KM50 are not necessarily constrained to relate sequentially to the corresponding Programs and Combis in the M50, but it s actually wise to make sure they do so, for the purposes of importing and exporting data. The reason for having this feature at all is that, if you are content with using the software, you could have multiple Performances that all call up the same Combi in the M50, doing different variations or using different GEs. However, while this would work while using the software, it could not be transferred to the M50 in any meaningful way. When the data is exchanged with the M50, it is all based on sequential locations, and the Bank Type menu setting. So, it is recommended to keep this arrangement for normal operation.) 24. OK, so now we have the Combi calling up I-D000, which is likely an INIT Combi (or the wrong Combi). What do we do now? You could do either of these: Select I-C127 Mesons & Quasars in the M50, and use the Page Menu > Write Combination to store a copy of it into D-000; or Since the KDF file contains the actual PCG data of the Combis and Programs as well as the KARMA settings, we could send the Combi to the M50 using SysEx. This will also merge the new name we gave it with the internal PCG data. 25. To try the SysEx method, choose Send Performance... from the Menu Button of the Performance Editor. The resulting dialog comes up preconfigured to send the Current Edit Buffer to the M50, so just click on the green checkmark (OK). The progress dialog will show the SysEx being sent, and if you watch the M50 Screen, you will see it being written into Internal Memory. The name changes to D000 Mesons & Quasars2. At this point, the Combi is successfully stored in the correct location so that you can call it up when you select it in the KM50 software. 26. Now, let s try KM50 s Bypass feature. From the Options Menu, choose Bypass (cmnd+ [mac], ctrl+ [win]). You will see [BYPASS] labels turn on in several of KM50 s Editor windows, to alert you to the fact that it is presently disabled, since it s sometimes easy to forget this. Bypass does several things: it disables KM50 s KARMA generation capabilities, it enables the functioning of the M50 s internal Arp (which KM50 normally disables), and it toggles the Local Control On/Off setting (in the M50 Global > MIDI page) or other Thru options depending on settings in KM50 s Preferences Editor. Page 10

11 Note that you can still use KM50 s Function Keys to trigger the chord pads from your computer. However, if you check the Data Display Window, you will see that KM50 is not generating anything - the M50 s internal KARMA Engine is back in control. So now, you can play the Combi in the M50 itself, without any of the KARMA activity. The point is, you can temporarily defeat KARMA and use the M50 normally without having to quit KARMA M When finished, return operation to KM50 by turning off the Bypass feature under the Options Menu, and verify that KM50 is again working by watching the Data Display Window and triggering a Function Key Chord Trigger. Save the changes to your KDF file using the File Menu > Save command. However, what if you wanted to edit not just KARMA, but some of the Program assignments, the levels of the timbres in the Combi, and other timbre, sound and effect parameters? That brings us to the next section in this Tutorial! B. Editing sound parameters in the M50 In this section of the tutorial, we ll edit some of the program assignments, levels, and timbre settings all of them things that are not possible to do directly from the KM50 Software, since it only handles the KARMA-related parameters. 1. With KM50 Software again generating MIDI (Bypass Off), let s change the sound of the bass (Timbre 14). In the M50, on the Main Play page 0-2 [Prog 9-16], set Timbre 14 s Program to C-096 Harmonic Bass. Then, since this program is an octave lower than the previous one, go to page 3-6 [Timbre Parameters > Pitch 9-16] and set Transpose to +12 for Timbre 14 (you may wish to Solo Timbre 14 while doing this.) 2. This bass sound is clearly too loud; go back to page 0-4 [Mixer 9-16] and set the Volume of Timbre 14 to around From Page 0-2 [Prog 9-16], Change Timbre 10 (Drums) to E-076 Hard House Kit, and Timbre 13 (Drums) to E-067 Electro Rock Kit. 4. Change Timbre 15 (String Riff) to D-088 Vintage Sci-Fi Lead. What do we do at this point to save these edits? It s simple, because we haven t done anything to cause a problem yet. 5. Press [REC/WRITE] on the M50 and answer OK to write our edits into D-000 Mesons & Quasars2. You may wish to stop KARMA first to avoid an annoying sound glitch. At this point, we can play the Combi and all is well. However, we previously sent the PCG data to this D-000 location in Section A of this tutorial, and we have now edited the Combi directly in the M50 and saved it there. An issue arises if we now wanted to edit something that would cause us to want to send the PCG data again (potentially overwriting what we just edited). Page 11

12 C. Further KM50 Editing now that the M50 is edited In this section, we ll add some more edits to the KARMA settings, and a Drum Track Edit, creating a situation where we want to send the Combi s PCG data again. 1. In KM50, let s set up another KARMA Scene. With the RT Controls Window in the Master Control Layer, select Scene 2, either using the eight large Scene Buttons, or clicking in column 2 of the M row of the Scene Matrix Grid. As you can now hear, this doesn t sound very good, because it has the default scene for Module 1 s GE, which we loaded when we replaced the GE. Since we edited Module 1 a bunch to sound good earlier on, let s copy that scene to all the other scenes as a starting point. 2. From the Menu Button in the RT Controls Window, choose Copy Scenes. We only want to copy Module 1 at this moment, so set the Control Layer popup menu to Module 1. We are now in Scene 2; but Scene 3 was selected for Module 1 in the previous Master Layer Scene (go back and check if you need to), so set the Source Scene to 3, and the Destination Scene to ALL, and press OK. This copies Module 1 s Scene 3 to all 31 other Scenes in that Control Layer. 3. However, something still doesn t sound the same on Module 1 that s because Module 1 is also affected by the Master Layer settings. So let s copy the Master Layer Scene 3 into Scene 2, as well. Open the Copy Scenes dialog again, and set to Master, Scene 3, and Scene 2 as shown. This makes Module 1 sound the same. 4. Now, let s edit Scene 2 a bit. Turn off Module 4 (Synth Riff), and move Slider 2 Rhythm Complexity to 0 (KARMA Value = -99), which simplifies the drum groove, and shorten the Durations of the bass and WaveSeq with Slider 3 Duration Control to 26, as shown in the following diagram. Page 12

13 5. Let s change the use of the Scene Change Quantize Window. Set it to 4 Bars, and try switching back and forth between Master Layer Scene 2 and Scene 3 the scene change is delayed until the next occurrence of the 4 bar window. You will see the Scene Matrix Grid and eight large Scene Buttons blink red during pending scene changes. 6. Finally, let s transpose all of the Chord Triggers. Click on the [Edit] button in the Chord Triggers section of the RT Controls Window, or select Chord Triggers from the Window Menu (cmnd+j [mac], ctrl+j [win]). You can see a column for each of the Chord Trigger buttons, containing the notes and velocities. At the top is the Transpose & Modify Velocity section. This allows you to try real-time modifications to all, or one or more, of the Chord Triggers, and then apply those settings to the specified Chord Triggers. 7. As shown below, set the Semitones menu to +1, Modify Velocity to Absolute, and Value to 117. Press the Chord Trigger buttons (or use function keys [F1]~[F8] they are now in the key of Fmin, not Emin. The press the Set Values Button, and watch in the bottom portion of the window as the chords transpose and all velocities become 117. Page 13

14 8. Now, let s add the use of the Drum Track. KARMA M50 allows you to control two of the Drum Track parameters as a convenience: the Drum Track On/Off button, and the DT Trigger Mode setting. These are in the lower right corner of the Real-Time Controls Window. With KARMA turned off (use [F9] or the On/Off button in the RTC Window, or use the Arp button on the M50 if you have the M50 set up for Real-Time Control of the software), turn on the Drum Track button in KM50. Because the DT Trigger Mode is set to Start Immediately at this moment, you should see the Drum Track button in the M50 light up and hear the Drum Track pattern play. 9. Change the DT Trigger Mode to Wait For Kbd Trigger the Drum Track button automatically turns off and the Drum Track Stops. Turn the Drum Track button back on, and you will see the Drum Track button blinking in the M50. Now press [F1] to trigger just the Drum Track. 10. It seems the Drum Track only plays as long as we hold the Chord Button. That s because the Drum Track Latch is turned off in this Combi. Since this is not one of the Drum Track parameters that KM50 allows us to edit, go to the M50 s P7-7: Arpeggiator/Drum Track [Drum Track] tab, and turn the Latch parameter on. Now, you should be able to trigger the Drum Track and have it continue playing. 11. Stop the Drum Track, and switch back to Scene 2. Turn off Module 2 in the Master Layer (the KARMA Drums.) Turn KARMA back on, turn the Drum Track on (blinking), and now you can trigger KARMA and the Drum Track at the same time. You will hear just the Drum Track, along with two of KARMA s Modules (but not the KARMA Drums, since they are turned off.) 12. Switch back to Scene 3, and we have the KARMA Drums and the Drum Track at the same time. However, there is yet another feature: KARMA can control whether the Drum Track is on in a given scene. So in this case, it s busy enough with the KARMA Drums and we don t need the Drum Track at the same time; let s have it turn off the Drum Track in Scene 3. Page 14

15 13. At the top of the Scene Matrix area in the RTC Window, the topmost row is name DTrk if the cell is on in this row, the Drum Track plays (if it is set in the M50 to be used in the combi). If it is turned off, then the Drum Track is muted (it is still playing inside the M50, you just cannot hear it). This allows it to be turned back on by Scene changes. Turn the DTrk cell in column 3 (Scene 3) off as shown above. 14. Now, with the Drum Track button and KARMA both on, trigger the combi and switch back and for the between Master Layer Scene 2 and 3 you will hear the KARMA Drums and the Drum Track trade-off in the two scenes. 15. Return the Master Layer to Scene 3 (in the RT Controls Window) if it is not already, and stop KARMA by pressing the Return Key of your computer keyboard. Note that the Drum Track stops as well, and returns to blinking on the M Let s change the category and the name of this Combi just for the heck of it, and to illustrate an upcoming point. In the Performance Editor > Korg Page, change the category to Keyboard, and then save the Performance using the [Store] button as we ve already done, changing the name to Particles & Waves, overwriting the current Performance. Then save the KDF File from the File Menu. 17. Furthermore, don t forget we ve edited a Drum Track setting in the M50, so save this as well using [REC/WRITE]. At this point, we now have a situation where we have edits in the M50 to the timbre settings (programs, levels, pitch transpose, etc.), and we have edits in the KM50 software to the Drum Track settings, the Combi Name and the Combi Category. If we were to send the Performance from KM50 to the M50 as we did before at the end of Section A, it would overwrite all of the changes we just made inside the M50 with the old version of the data (that is stored in the PCG part of the KDF file). If we simply got the data from the M50 via SysEx into the current location of KM50, it would destroy the new KARMA edits in KM50 by replacing them initialized KARMA data. Here is where we need to get the edits from the M50 via SysEx, and merge them into the KM50 Data, so that the new PCG edits are merged with the KARMA data in the Performance, and the two Drum Track settings. Then we can send back the combined/merged data via SysEx. D. Merging the edits and transferring it back to the M50 We have edited a number of KARMA settings in the Performance in the KM50 software, and it is playing a Combi on the M50 that has edits to the timbres. In this section of the tutorial, you ll learn how to combine these two separate things, and get it back into the keyboard so they are synchronized. 1. To start with, always make sure both things are saved. Save the Performance in KM50, and write the edits to the Combi into the M50, in the same location. Page 15

16 2. From the Performance Bank Display Menu Button, choose Get Performance... When the dialog opens up, it will be set to the current Performance (Combi D-000) as a source. In the Destination area, make sure the Merge Location option is selected (very important!) which is the default setting, with the destination being the current Performance as well. This tells it to get the Combi from the M50, but to not replace the KARMA part of this Performance. (If you were to use the Replace option, it would replace our current KARMA settings initialized KARMA data, since the M50 doesn t have any internal KARMA settings to receive.) 3. Press OK (green checkmark) to close the dialog and request the dump. The progress bar comes up and SysEx is received by KM50 (it will flash quickly if using the Korg USB Driver.) Now, the edited PCG data from the M50 has been merged with the edited KARMA data in the KDF file. (You will see that the KDF file has been marked as edited in the title bar of the KDF window.) How do we get this back into the M50, with the new name, category, and Drum Track settings? We just send it back, now that they have been merged. As we did in Section A, from the Performance Editor Menu Button, choose "Send Performance..." Since the Performance is presently loaded, you can leave the options as set by default, which sends the contents of the Edit buffer to the currently selected location in the keyboard. You can see a message on the screen of the M50 as it writes to internal memory. Now, test the combi and if everything went according to plan, you should be able to see that the Combi still has all of the program edits we did, while incorporating the new name, category, and Drum Track settings. Page 16

17 The End! Well, if you made it this far, thanks for sticking with it - you now should have a pretty good understanding of how to start editing a Program or Combi in KM50 Software, and be able to get anything you ve done in KM50 back into the keyboard. Well done! Page 17